DOCSLIB.ORG

Brief Summary of Minor Research Project

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Brief Summary of Minor Research Project Brief summary of Minor Research project “A detailed study of Dr. DevishingChauhan’s historical research in Dakhini Hindi” Introduction : Dakhini also spelled Dakkhani and Deccani, arose as a Muslim court language of the Deccan Plateau in ways similar to Urdu. It is similar to Urdu by way of the influence of Persian with a Hindi base, but differs the strong influence of Arabic, Persian, Konkani and Marathi, and the Telugu and Kannada inhabitants of Maharashtra, Andhra Pradesh and Karnataka. This dialect has a rich and extensive literary heritage. Despite it being the native language of most Muslims of the Hyderabad State and the Kingdom of Mysore, it is also the spoken form of Hindi- Urdu for most Hindus and non-Hindus of the region to this day and is the most common "street-language" in several cities including Hyderabad and Bangalore. DakhiniHiindi is spoken in the Deccan plateau region of India. Just as Urdu developed in Lucknow, Dakhini developed in Deccan plateau parallel to Urdu with KhariBoli. The term Dakhini is perhaps an umbrella for a group of dialects spoken by certain communities of Muslims in the Deccan region. Dakhni is the lingua franca of the Muslims of Deccan. The Deccan is roughly the area between the Narmada and Tungabhadra or Krishna. On the east it is bounded by the Mahanadi and on the west by the Western Ghats. It is the great South Indian plateau. Politically it is comprised of Berar (present-day Vidarbha with Nagpur as its important city), ten Telangana districts of Andhra Pradesh, the Maharashtra districts of Latur, Nanded, Ahmednagar, Beed and Aurngabad, and the Karnataka districts of Bijapur, Bidar, Gulbarga, Raichur and Bellary. However as a spoken language Dakhni is widely used even outside this region. It is the lingua franca of all the Muslims in South India and is understood by all those who have access to Hindi. In many Hindi films, Dakhni words and dialogues are used and in films like „Hero Hiralal‟ and „Sushman‟, Dakhni was the main language. Recent films like „Angrez‟ and „HyderabadiNawab‟ also use Dakhni profusely. There are no current census figures for speakers of Dakhni because no one reports Dakhni as a mother tongue. Still the estimates of Dakhni speakers will run into crores, because its variants are spoken in Gujarat, Maharashtra, Karnataka, Andhra Pradesh, Kerala and Tamilnadu. As folk tradition, in the urs of Sufi saints, in the songs used by beggars and fakirs, Dakhni is still widely used. S A. Objectives 1. To highlight the origin and background of Dakhini Hindi. 2. To study the impact of Indian tradition, social life and regional language on Dakhini Hindi. 3. To find out the influence of regional and national language on Dakhini Hindi 4. To focus on the life of Dr. DevishingChauhan and his contribution for the development for Dakhini Hindi 5. To study the use of Dakhini Hindi in contemporary literature. 6. To analyze critically the different dialects in India B. Methodology The method of analysis of present research is based on primary and secondary sources. Library books, website resources, fieldwork, interview etc. are utilized. Data analysis from diverse point of views using various methods like gazetteer, news paper columns, has been collected for the completion of the research work. C. Review and literature Dr. DevishingChauhan, a well known historian and freedom fighter, participated in movement to fight against the Nizam of Hyderabad during the Hyderabad Campaign. As a result the Marathwada region was liberated from the Hyderabad State on September 17, 1948. In 1966, He participated in hunger strikes, morchas, rail rokos, bandhs and other form of protests to press for a broad track. Dr. DevishingChauhan was a poet of Dakhini Hindi. Conclusion Deccan, as we said above, is an area that can be defined as lying between the Narmada and the Tungabhadra rivers. The area south of the Deccan is called Dravid. The Deccan has been a meeting point of southern and northern cultures. This has given its culture a special quality. It does not keep its independent existence but spreads and accepts influences from north and south. It is a home for Kannada, Telugu and Marathi, and also has contributed to Hindi and Urdu. So the contact with the north is far older than the Muslim invasion. Both Buddhists and Jain religions that were born in Bihar had significant presence in the South. The Jains even today have an important presence. After the decline of the Buddhists, it was the Shaivaite and Nathpanthis who inherited the Buddhist tradition. There was a lot of movement of Nathpanthis, Nirgunias, Sikhs and Sufis from Punjab to Gulbarga, through Gujarat and Maharashtra. In Maharashtra, Gyaneshwar and his elder brother Nivrutinath are in direct tradition of Gorakhnath. Hence we find Namdev (1270-1351), a saint from Maharashtra and a tailor by caste, writing in Dakhni. His son Gonda also composed in Dakhni. Some 50 of Namdev‟s poems are included in the Granth Sahib. Eknath and Tukaram are the two other Marathi saints who wrote extensively in Dakhni. In the final analysis, it is not the modern Urdu and Hindi that have inherited the tradition of Dakhni. Muslim and Hindu upper-class people fought with each other for getting jobs in colonial India in western U.P. For this they used the struggle for use of Hindi (written in Devanagari script) in government work replacing Persian (written in Persian script). This resulted in the Hindu-Muslim divide with its tragic consequences. It also led to Urdu becoming a language of the Muslims with Persian and Arabic words, and Hindi as a language of Hindus with Sanskrit words replacing the commonly spoken words. Hindi and Urdu have become the standard language, and therefore the language of power or as some linguists call the standard language, the language with a gun! These standardized languages have carried power, sectarianism, hate and violence! This Hindi has grown at the cost of more than a dozen languages in the “Hindi Commonwealth” (a term used by AcharyaKishoridasBajpai) making their speakers second-class citizens in their own land. How can such a language serve as a national language to unite Indians? The true inheritor of Dakhni is the language of the common people, often called Hindustani, which the vast majority of the working people, particularly in urban India, understand. Its literary tradition continued in modern India through Parsi theatre, Hindi theatre in general, and the Bombay cinema and Hindi film lyrics. Some authors in Hindi still write in people‟s language and the „chap‟ literature (religious tracts like KabirKeDohe) sold on the pavement and rural weekly markets and popular magazines still use this language. This language carries the common composite cultural tradition of India, a culture of love, assimilation and tolerance. Signature of the Principal Signature of Principal Investigator .
Load more

Recommended publications
  • Mahendra Singh Dhoni Exemplified the Small-Town Spirit and the Killer Instinct of Jharkhand by Ullekh NP
    www.openthemagazine.com 50 31 AUGUST /2020 OPEN VOLUME 12 ISSUE 34 31 AUGUST 2020 CONTENTS 31 AUGUST 2020 7 8 9 14 16 18 LOCOMOTIF INDRAPRASTHA MUMBAI NOTEBOOK SOFT POWER WHISPERER OPEN ESSAY Who’s afraid of By Virendra Kapoor By Anil Dharker The Gandhi Purana By Jayanta Ghosal The tree of life Facebook? By Makarand R Paranjape By Srinivas Reddy By S Prasannarajan S E AG IM Y 22 THE LEGEND AND LEGACY OF TT E G MAHENDRA SINGH DHONI A cricket icon calls it a day By Lhendup G Bhutia 30 A WORKING CLASS HERO He smiled as he killed by Tunku Varadarajan 32 CAPTAIN INDIA It is the second most important job in the country and only the few able to withstand 22 its pressures leave a legacy By Madhavankutty Pillai 36 DHONI CHIC The cricket story began in Ranchi but the cultural phenomenon became pan-Indian By Kaveree Bamzai 40 THE PASSION OF THE BOY FROM RANCHI Mahendra Singh Dhoni exemplified the small-town spirit and the killer instinct of Jharkhand By Ullekh NP 44 44 The Man and the Mission The new J&K Lt Governor Manoj Sinha’s first task is to reach out and regain public confidence 48 By Amita Shah 48 Letter from Washington A Devi in the Oval? By James Astill 54 58 64 66 EKTA KAPOOR 2.0 IMPERIAL INHERITANCE STAGE TO PAGE NOT PEOPLE LIKE US Her once venerated domestic Has the empire been the default model On its 60th anniversary, Bangalore Little Streaming blockbusters goddesses and happy homes are no for global governance? Theatre produces a collection of all its By Rajeev Masand longer picture-perfect By Zareer Masani plays performed over the decades By Kaveree Bamzai By Parshathy J Nath Cover photograph Rohit Chawla 4 31 AUGUST 2020 OPEN MAIL [email protected] EDITOR S Prasannarajan LETTER OF THE WEEK MANAGING EDITOR PR Ramesh C EXECUTIVE EDITOR Ullekh NP Congratulations and thanks to Open for such a wide EDITOR-AT-LARGE Siddharth Singh DEPUTY EDITORS Madhavankutty Pillai range of brilliant writing in its Freedom Issue (August (Mumbai Bureau Chief), 24th, 2020).
    [Show full text]
  • Literary Herald ISSN: 2454-3365 UGC-Approved Journal an International Refereed English E-Journal Impact Factor: 2.24 (IIJIF)
    www.TLHjournal.com Literary Herald ISSN: 2454-3365 UGC-Approved Journal An International Refereed English e-Journal Impact Factor: 2.24 (IIJIF) Habib Tanvir’s Naya Theatre: Towards the Revival of Folk Theatre Sangeeta Mishra, Ph.D. Scholar Dept. of Modern Indian Languages and Literary Studies University of Delhi Abstract During 1943- 1944, the rise of IPTA (Indian People‟s theatre Association) brought life to the theatre in many regions of the country giving it a new strength and direction. This movement made a significant effort to bring theatre close to the people and make them socially relevant in terms of the content. Habib Tanvir, among others has been a part of this movement. Since the beginning of 1960s, Habib Tanvir started his attempts to forge a new indigenous form of theatre for which he went to Sanskrit and traditional theatre. This paper attempts to explore the salient features of Habib Tanvir‟s Naya Theatre and his plays as a medium to study the different dimension of folk and indigenous forms that could relate to common man‟s life and hence highlight the social and political impact. Keywords: Indian theatre; IPTA; Naya Theatre; theatre for the people; Chhattisgarhi tribes INTRODUCTION As B.V Karanth states: “Whenever we look for our own identity or legacy, our Quest automatically ends at the same emotional destination- there- at the folk theatre.”i Habib Tanvir, a popular Hindi playwright, a theatre director, a poet, an actor, was the pioneer of a very special genre of Hindi theatre and was known for his works with the Chhattisgarhi tribes, at Naya Theatre, Bhopal, 1964.
    [Show full text]
  • Hindi Theater Is Not Seen in Any Other Theatre
    NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well.
    [Show full text]
  • Setting the Stage: a Materialist Semiotic Analysis Of
    SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception.
    [Show full text]
  • Chapter 1: Introduction
    CHAPTER 1: INTRODUCTION Corporate social responsibility (CSR, also called corporate responsibility, corporate citizenship, and responsible business) is a concept whereby organizations consider the interests of society by taking responsibility for the impact of their activities on customers, suppliers, employees, shareholders, communities and other stakeholders, as well as the environment. This obligation is seen to extend beyond the statutory obligation to comply with legislation and sees organizations voluntarily taking further steps to improve the quality of life for employees and their families as well as for the local community and society at large. The practice of CSR is subject to much debate and criticism. Proponents argue that there is a strong business case for CSR, in that corporations benefit in multiple ways by operating with a perspective broader and longer than their own immediate, short-term profits. Critics argue that CSR distracts from the fundamental economic role of businesses; others argue that it is nothing more than superficial window-dressing; still others argue that it is an attempt to pre- empt the role of governments as a watchdog over powerful multinational corporations. 1.1 DEVELOPMENT Business ethics is a form of the art of applied ethics that examines ethical principles and moral or ethical problems that can arise in a business environment. In the increasingly conscience-focused marketplaces of the 21st century, the demand for more ethical business processes and actions (known as ethicism) is increasing. Simultaneously, pressure is applied on industry to improve business ethics through new public initiatives and laws (e.g. higher UK road tax for higher-emission vehicles).
    [Show full text]
  • Andha Yug: the Age of Darkness by Dharamvir Bharati (Review)
    UvA-DARE (Digital Academic Repository) [Review of: A. Bhalla (2010) Dharamvir Bharati. Andha yug: the age of darkness] Bala, S. DOI 10.1353/atj.2014.0010 Publication date 2014 Document Version Final published version Published in Asian Theatre Journal Link to publication Citation for published version (APA): Bala, S. (2014). [Review of: A. Bhalla (2010) Dharamvir Bharati. Andha yug: the age of darkness]. Asian Theatre Journal, 31(1), 334-336. https://doi.org/10.1353/atj.2014.0010 General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:25 Sep 2021 Andha Yug: The Age of Darkness by Dharamvir Bharati (review) Sruti Bala Asian Theatre Journal, Volume 31, Number 1, Spring 2014, pp. 334-336 (Article) Published by University of Hawai'i Press DOI: 10.1353/atj.2014.0010 For additional information about this article http://muse.jhu.edu/journals/atj/summary/v031/31.1.bala.html Access provided by Amsterdam Universiteit (22 Apr 2014 08:11 GMT) 334 Book Reviews directly engaging in the existing scholarly debate over whether or not the two plays embrace feminist causes or ultimately adhere to the patriarchy.
    [Show full text]
  • Raamesh Gowri Raghavan Editor Managing Our Heritage 12 Anuradha Dhareshwar Anand Kanitkar
    Vol 22/05 Dec 2018 Patriotism Redefined ARCHAEOLOGY 2018 FACE TO FACE Dr. Tejas Madan Garge know india better The state of archaeology Mathura & Vrindavan Yavanas in India In the footsteps of Lord Krishna Securing our intangible heritage Great Indians : COL. HARWANT SINGH, MC | YASHWANT DEV | E.C.G. SUDARSHAN MORPARIA’S PAGE Contents December 2018 VOL. 22/05 THEME: Morparia’s Page 02 INDIAN The state of archaeology 04 ARCHAEOLOGY, 2018 Abhijit Dandekar & Andre Baptista Managing Editor Yavanas in India 06 Mrs. Sucharita R. Hegde Dr. Manjiri Bhalerao Securing our intangible heritage 09 Raamesh Gowri Raghavan Editor Managing our heritage 12 Anuradha Dhareshwar Anand Kanitkar 'Adopt a Heritage' - the good and the bad 14 Dr. Kurush F. Dalal & Raamesh Gowri Raghavan Assistant Editor E.Vijayalakshmi Rajan Know India Better Mathura & Vrindavan 17 Design In the footsteps of Lord Krishna Gustasp & Jeroo Irani Resurgam Digital LLP Face to Face Dr. Tejas Madan Garge 25 Raamesh Gowri Raghavan Subscription In-Charge Nagesh Bangera General Deterrence and retribution 28 Rashmi Oberoi Advisory Board Sucharita Hegde The India focus at IFFI 30 Shoma A. Chatterji Justice S. Radhakrishnan Venkat R. Chary A mirror to our society 32 Prof. Avinash Kolhe Don’t worry, be happy! 34 A. Radhakrishnan Printed & Published by Mrs. Sucharita R. Hegde for One India One People Foundation, Mahalaxmi Chambers, 4th floor, Great Indians 36 22, Bhulabhai Desai Road, Mumbai - 400 026 Tel: 022-2353 4400 Fax: 022-2351 7544 e-mail: [email protected] [email protected] visit us at: COL. HARWANT SINGH, MC YASHWANT DEV E.C.G.
    [Show full text]
  • Paper 14; Module 16; E Text (A) Personal Details Role Name Affiliation Principal Investigator Prof
    Paper 14; Module 16; E Text (A) Personal Details Role Name Affiliation Principal Investigator Prof. Tutun University of Hyderabad Mukherjee Paper Coordinator Prof. Asha Kuthari Guwahati University Chaudhuri, Content Writer/Author Dr. Saurabhi Guwahati University (CW) Sarmah, . Content Reviewer (CR) Dr. Lalan Kishore Dept. of English, Guwahati Singh University Language Editor (LE) Dr. Dolikajyoti Assistant Professor, Guwahati Sharma, University (B) Description of Module Item Description of module Subject Name English Paper name Indian Writing in English Module title Recreating the Past: Girish Karnad’s Tughlaq Module ID MODULE 16 Module -16 Recreating the Past: Girish Karnad’s Tughlaq Introducing the playwright: A playwright, director, screen writer and an actor, Girish Karnad has made a remarkable contribution to the world of Indian theatre by writing plays in Kannada and translating them into English. Born in 1938 in Maharashtra, Karnad had his schooling in Marathi. Later on, when he was 14 years old, his family moved to Dharward in Karnataka where he grew up. He did his graduation from Dharwad University and then went to England to pursue his higher studies in philosophy, politics and Economics. After coming back to India, he worked with the Oxford University press; but finally he left his job to pursue writing as his full time career. During his tenure at the University of Chicago, his play Nagamandala had its world premiere at the Guthrie theatre in Minneapolis. The performance was based on Karnad’s translation of Nagamandala into English. Karnad is one of the leading figures of what is known as the Theatre of the Roots movement in India.
    [Show full text]
  • Parody As Positive Dissent in Hindi Theatre
    Parody as positive dissent in Hindi theatre Annie Montaut National Institute of Oriental Languages and Civilizations, Paris, France Abstract Parody (etymologically a voice alongside another voice) involves imitation, but what is crucial is the co-presence of these two voices, the parodying and the parodied. It is the dialogue between two enunciative spheres, two utterances, hence its preeminent position in the Bakhtinian concept of dialogism. The two points of view, set against each other dialogically, represent two utterances, speakers, styles, languages, and axiological systems, even if they issue from a single speaker. As a reflexive device and critical manip- ulation of canonized forms, parody has often been considered as the epitome of postmodernism in Euro- pean and North American literature and artistic expression. The paper aims to show that, in Hindi theatre, parody is politically significant. The article focuses on Bhartendu Hariścandra (1850—1885) and Habīb Tanvīr (1923—2009). It argues that the use of the quotes of Nazīr Akbarābādī in Tanvīr’s most famous play Āgrā Bāzār, a poet who himself parodies the traditional poetical canons, enhances a literary reflexiv- ity that is one of the deepest creative devices of Indian culture. Keywords: Habib Tanvir, Bhartendu, postmodernity, reflexivity, parody, canonized form, popular culture, marketplace culture There is a famous aphorism by Nietzsche in Daybreak (Morgenröte) which has of- ten been quoted to emphasize that parody cannot be dissociated from modern cul- ture as characterized by (auto) reflexivity. It also suggests that parody rules out any dream or phantasm relating man to a divine origin, and generally to any phantasm of origin.
    [Show full text]
  • Download (5.57
    c m y k c m y k Registered with the Registrar of Newspapers of India: Regd. No. 14377/57 CONTRIBUTORS Aziz Quraishi Diwan Singh Bajeli Dr. M. Sayeed Alam Feisal Alkazi Geeta Nandakumar Rana Siddiqui Zaman Salman Khurshid Suresh K Goel Suresh Kohli Tom Alter Indian Council for Cultural Relations Phone: 91-11-23379309, 23379310, 23379314, 23379930 Fax: 91-11-23378639, 23378647, 23370732, 23378783, 23378830 E-mail: [email protected] Web Site: www.iccrindia.net c m y k c m y k c m y k c m y k Indian Council for Cultural Relations The Indian Council for Cultural Relations (ICCR) was founded on 9th April 1950 by Maulana Abul Kalam Azad, the first Education Minister of independent India. The objectives of the Council are to participate in the formulation and implementation of policies and programmes relating to India’s external cultural relations; to foster and strengthen cultural relations and mutual understanding between India and other countries; to promote cultural exchanges with other countries and people; to establish and develop relations with national and international organizations in the field of culture; and to take such measures as may be required to further these objectives. The ICCR is about a communion of cultures, a creative dialogue with other nations. To facilitate this interaction with world cultures, the Council strives to articulate and demonstrate the diversity and richness of the cultures of India, both in and with other countries of the world. The Council prides itself on being a pre-eminent institution engaged in cultural diplomacy and the sponsor of intellectual exchanges between India and partner countries.
    [Show full text]
  • International Journal of English and Studies (IJOES) an International Peer-Reviewed English Journal Vol-1, Issue-2, 2019 ISSN: 2581-8333
    SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed English Journal www.ijoes.in Vol-1, Issue-2, 2019 ISSN: 2581-8333 ______________________________________________________ ORIGIN OF INDIAN DRAMA: A SHORT INTRODUCTION ______________________________________________________________________________ Mr. Jitendrasinh Parmar1 Dr. Ishita Sharma2 Bhagwan Mahavir College of Science & Technology, Surat Gujarat, India ______________________________________________________________________________ Abstract: Any study of Indian drama begins with Sanskrit drama, which is purely of Indian origin. The word “Natya” often been translated as “Drama”. The Sanskrit word for play (Nataka) and actor (Nata) are from the root “Nat” which is the prakrit form of Sanskrit “Nrutya” meaning to dance. A Sanskrit drama always opens with a namely or benediction, usually addressed to Ganesh or Shiva for the prosperity of the audience by “Sutradhar” or director. Bharata is historically thought-about to be the daddy within the history of Indian drama. The history of Indian drama is deeply unmoving in classical Indic theatre, which is the earliest existing form of drama and theatre. Key Words: Drama, Indian, Sanskrit, Theatre, History, Natak. Introduction: Drama is that the branch of humanities within which stories square measure acted mistreatment combos of speech, gesture, music, dance and sound. Indian drama and theatre has a vivid history. The history of Indian drama is charming, enigmatic and unbelievable. India has AN autochthonous dramatic tradition, and remains stay unaffected from any foreign influence. Hindu drama was not borrowed or an imitation of any other, but it is the product of native genius. Origin of Indian Drama: History of Indian drama is made with Vedas and Indian epics and has step by step modified with time and remains unaffected by any foreign influence.
    [Show full text]
  • Read Detail Interview
    Usha Ganguli is a well-known theatre person, and is Artistic Director of her Kolkatta based theatre company called ‘Rangkarmee’. She was invited to the Prithvi Theatre Festival 2006’ to present her play KASHINAMA. The following conversation between Atul Tewari and her took place on 11th November 2006 as part of the ‘Meet the Playwrights’ sessions. The conversation has been edited as necessary. Atul Tewari: Like always, the ‘Meet The Playwrights’ sessions are one more great initiative that Prithvi has made in order for us to come together and I am not at all depressed by the numbers present here. It seems that when Buddha started his conversations there were only five people with him. We are at least five times more than that! So here we have gathered to talk to Usha Ganguli. But I hope to meet not just the playwright because Usha is not just a playwright. She has many facets to her personality. She is an actor, a director, an activist. She is also an art administrator who is associated with the Sangeet Natak Akademi and the National School of Drama as well as with few of the important institutions in Bengal. She is of course a very well known teacher in Kolkata. She taught Hindi for many years, before she retired last year and then of course she is a playwright and a composer of music. Though she says that she was never trained formally in music, she was trained as a dancer in Bharatnatyam. This evening we will try to touch upon the many different facets of Usha’s personality.
    [Show full text]